I used to love Tom Waits. When I was younger, I bought up most of his discography. At some point, I grew a bit tired of the barroom drifter persona and the sound; I still like him and his music, but I think I moved on from it at a certain point. Even with his 1970s crooner output, Waits is still quite a niche taste, so it is amazing to me that Francis Ford Coppola staked a lot of money and the fate of his studio, Zoetrope, on Waits’ music and singing, accompanied by Crystal Gale – their duets are the stand-in voices of the two lovers at the centre of One From The Heart (1981), Coppola’s infamous flop musical (or anti-musical). I was curious to see it for awhile, particularly with the recent restoration overseen by Coppola, and it also stands as an entry in one of my favourite sub-genres: (neo-)noir romance. A couple living on the outskirts of Vegas bust up on the eve of their anniversary – Frannie (Teri Garr) and Hank (Frederic Forrest). Over a couple of nights in the lead up to the Fourth of July (when they met), they wander the Vegas strip with their friends (Harry Dean Stanton and Lainie Kazan) and meet new love interests, a piano-playing waiter for Frannie (Raul Julia), an elfin Circus Girl for Hank (Nastassja Kinski). The movie is a marvel when it comes to set design and lighting, evoking Edward Hopper, picture postcards and cinematic memories of the past; the skies are painted backdrops and the vistas in the distance clearly fake. The artificiality is made post-modern by the proximity of billboards, window displays and neon lights. It’s a visual feast that often overwhelms the central couple who I wanted to see split apart rather than get back together. Scorsese had already tried marrying Classic Hollywood musicals with Cassavetes styled arguing in New York, New York; that film had a better ending to what happens here. Without the stars being singers or dancers, they drift across the tableaus with the Greek Chorus singing of Waits and Gayle – kind of pitched at the same level throughout the whole movie – outside of a funk-bass street scene choreographed dance number. Forrest is a compelling face but hard to see him as a leading man. Garr is a gifted comedienne but is more framed for sex symbol status here only. The movie is an odd duck; it’s a visual masterpiece but it’s also missing something. I don’t agree with everything Pauline Kael said but I’m with her in regards to preferring what Alan Rudolph did with Choose Me – that is a neo-noir romance with a coupling who generate heat and humour. Still, I was glad to finally experience One From The Heart and the title track is a favourite. Recommended.
VHS Tracking 